[..] [G]ames are the aesthetic form of everyday objects. Of ordinary life. Take a ball and a field: you get soccer. Take property-based wealth and the Depression: you get Monopoly. Take patterns of four contiguous squares and gravity: you get Tetris. Take ray tracing and reverse it to track projectiles: you get Doom. Games show players the unseen uses of ordinary materials.
[…] The true accomplishment of What Remains of Edith Finch is that it invites players to abandon the dream of interactive storytelling at last. […] To dream of the Holodeck is just to dream a complicated dream of the novel. If there is a future of games, let alone a future in which they discover their potential as a defining medium of an era, it will be one in which games abandon the dream of becoming narrative media and pursue the one they are already so good at: taking the tidy, ordinary world apart and putting it back together again in surprising, ghastly new ways.